Butterflies for a Hobby

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“ESTHER PARNELL HEWLETT

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ESTHER PARNELL HEWLETT

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THE BUTTERFLY ART SHOP
UPLAND, CALIFORNIA

Copyright 1945

Butterflies for a Hobby

“Winged flowers, or flying gems”

The study of butterflies and moths, the most beautiful of all
insects, can become a fascinating hobby, opening the door
into a whole new world of pleasure and interest. The
collecting and breeding of these exotic creatures to supply
the demand for private, museum and college collections
and art purposes, is called “Butterfly Farming.” There are
thousands of collectors who are continually adding to their
collections. Entomologists, directors of museums and college
professors are buyers, and butterflies are used to some extent
in jewelry. But a new and different demand has been
created within the last few years by the tardy recognition of
the possibilities in butterflies and moths as material for works
of art.

Beautiful and useful articles can be made for the home,
for gifts and for sale, by mounting our native butterflies
and moths under glass. They are easily framed in trays,
pictures, book ends, jewel boxes and other attractive articles,

at little expense. Ones originality can create individual
ideas and arrangements from these lovely creatures—

“AJ] diamonded with panes of quaint device,
Innumerable of stains and splendid dyes”

There are hosts of brightly-colored butterflies and night
flying moths in almost every locality—to be had for the
catching or raising. Prepared properly and combined with
pressed and dried ferns, grasses and tiny flowers on 4
milkweed floss or thistledown background, their exquisite
colorings and markings are preserved to be studied and
admired in works of art.

A butterfly’s life is short. A few butterflies and many
moths have no digestive apparatus. They take no food. so
live only a week or two. Others exist for a month or Ew
and a few go over the winter. But all fall prey to the
common fate of all butterflies and moths,—that of getting
weaker and weaker and more tattered and torn, until they
are eaten by the hungry bird, bat, toad, frog, spider or the
ever-present ant. With a life so short, it is not cruel to put
them to sleep before they have become torn and helpless, and
mount them where their beauty may be enjoyed for many
years. There is no danger of extermination, for a single
butterfly will lay as many as two hundred eggs and some
moths will deposit a thousand.

Butterflies and moths are found almost everywhere that
plant life grows. In North America, from the Rio Grande
north to the Arctic Circle, there are nearly 700 species of
butterflies,—about the same as of birds,—and many more of
moths. Some species are world flyers, but the majority fly
in rather restricted localities or sections of the country. A
difference in altitude often causes a change in coloring in
some species, specimens caught at high altitudes having a
deeper color.

There is a very great range in size, from the tiny micro-
moths only 4%” or less across the wings, to the enormous
butterflies and moths from the hot, steamy islands of the
South Pacific which have a spread of over ten inches. Those
found in the tropics are more brightly colored than in the
cooler climates, with marvelous blue and green and red
colorings. The huge, iridescent “Blue Butterflies” so much
desired for art work, fly in South America and up into
Central America and Mexico. They belong to the genus
“Morpho” and there are many species ranging from a
wonderful deep blue, through bronze and striped and spotted
species, to the pale blue and lavender types. All are a
brilliant, iridescent color which no paint or satin can equal.

Some butterflies and moths are camouflaged with
“protective coloration” to escape their enemies. One of the
best of these is the Dead-leaf Butterfly with several species
in Africa and India. On top the wings are highly colored,
but the under side is gray or brown and marked like a leaf,
with a midrib line, a small clear spot like 4 worm hole, and
a wing projection forming the stem of the leaf. Perched on
a tree or bush with its wings folded, this butterfly would
fool any hungry bird into thinking it was only an uninterest-
ing dead leaf.

About 16 species of fossil butterflies have been located,
some of them close to present-day species. The fossil remains
of another insect, a dragonfly with a wing spread of two
feet, have also been found.

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LIFE HISTORY

Butterflies and moths come under the grand head of Ento
mology which includes all insect life. This is divided into
eleven different orders, Lepidopteraa—being butterflies and
moths; Orthoptera,—grasshoppers, katydids, walking sticks,
mantids and crickets; Coleoptera,—beetles; Hemiptera,—
cicadas (commonly called locusts); and so on.

Lepidoptera (moths and butterflies) is one of four orders
which undergoes a complete metamorphosis, passing through
four stages of development,—first as eggs, then larvae or
caterpillars, next as pupae (chrysalids or cocoons), and finally
as perfect, fully-developed insects. The other seven orders
leave out one or more of these four life processes.

A butterfly is not a moth, nor is a moth a butterfly any
more than a firefly is a ladybird, or a mosquito a housefly.
They both belong to the great order of Lepidoptera, but the
two suborders into which this order is divided, Heterocera
(moths) and Rhopalocera (butterflies), are separate and
distinct. These are divided again into family, sub-family,
genus and species. Butterflies are generally known by two
names,—the genus name and the species—and many have
been given additional “common” or popular names.

The name Lepidoptera comes from two Greek words
meaning “scale-winged.” The wings of butterflies and
moths consist of a framework of horny tubes connected by
a membrane, these tubes or veins being double, the inner
tube filled with air and the outer with blood. The wings
of most species are covered on both sides with over-lapping
scales like the shingles on a roof. These are minute and very
beautiful, varying in shape and color.

Butterflies usually fly by day only. While some moths
are day fliers, the majority are on the wing only at dusk or
night. The antennae of butterflies are “clubbed,” having a
little swelling or knob at the end. The antennae of many
moths are threadlike and taper to a sharp point. Those on
the swift-flying Hawk or Sphinx Moths are heavy, thick
spikes, while the large, velvet-winged “Silk Moths” have
antennae like delicate fern fronds.

COLLECTING

“Hast thou heard the butterflies,
What they say betwixt their wings?”
—Tennyson

For a start in collecting and raising butterflies and moths, the
first requisite is access to several illustrated books. Most
public libraries have copies of “The Moth Book” and “The
Butterfly Book” by Dr. W. J. Holland,—standard works for
North America. These contain colored photographs which
are helpful in identifying the specimens. Or perfect spect-

mens may be sent to an entomologist for identification.
Many professors of entomology will willingly do this,
retaining the specimens as their fee.

The first necessity of equipment is the butterfly net. Any
kind of a strong, light-weight pole will do, but a 3 or 4-ft.
length of bamboo fishing. pole makes an ideal handle,
especially the small end with the ferrule on Up. For the
hoop, bend a 45” piece of heavy wire into a circle with 3
of each end turned out sharply. Run these ends through the

5

ferrule on handle and bind to pole securely with fine wire
or strong cord. For the casing on hoop, cut a piece of muslin
3%” wide and about 40” long. Turn each edge over 4”,
fold the strip lengthwise in center and slip it over the hoop
wire. The bag can be made of mosquito netting if nothing
else is available, but a stronger curtain bobbinet lasts much
longer. Either of these materials should be washed first to
remove the stiffening. Then with the material doubled,
cut a long tapered “U” shape, about 21” across and 25” long.
Sew up the side seams, turn the raw edges over again and
stitch down for a smooth finish. Slip the top edge inside
the muslin casing on hoop and stitch.

A pint fruit jar or any wide-mouth jar with a screw cap
makes a satisfactory killing bottle. Enough Sodium Cyanide
or Potassium Cyanide to cover the bottom of the jar should
be cracked into pieces not larger than a medium-sized
marble, handling with great care as it is a deadly poison.
Place in the jar and cover with a layer of cotton to hold the
crystals in place. Cut a round of writing paper yn” larger
than the jar and slash around the edge to a depth of 2”.
Put paste on these slashes and push the paper down onto
the cotton. The slashes will bend up and adhere to the sides
of the jar, against which they must be pressed smoothly
and tightly. Prick some holes in the paper with a hatpin.
There is no further danger from using the jar. The fumes
from the Cyanide work up through the cotton and the holes
in the paper and render the butterfly or moth painlessly
unconscious in a few moments. If the jar becomes weak
after continued use, a teaspoonful of water will revive its
strength. Several killing bottles should be made, and also
a large jar or can with a tight-fitting top for extra storage
Space, preparing it with Cyanide, too.

Butterflies and moths should be handled with forceps and
as little as possible with the fingers. Several styles of insect
forceps can be purchased at drug stores or at entomological
supply houses, but those with blunt or rounded points are
preferred. With these grasp the specimen from the front
at the base of upper wings close to body. a

Butterflies can be caught while in flight or when clinging
to flowers. Give the net a quick swing, then tip it so the
hoop is horizontal, and the butterfly will be in the lower

6

half of the bag which hangs down over one side of the
hoop. Hold the net handle firmly between the knees,
uncap the killing bottle, insert it carefully into the net, get
the butterfly into it and re-cap. There is a knack in trans
ferring the butterfly from net to jar, without losing or
marring it, that is learned only by practice and experience.

In a few seconds when the butterfly is unconscious,
remove and examine it. If on inspection it is found to be
perfect,—and “perfect”? means absolutely without scratch,
rub, tear, notch, loss of antennae or feet, or other blemish,—
it should be saved for sale or mounting. Fold the wings
together over the back and slip it into a paper envelope
previously marked with the name and sex of the specimen,
locality and date of capture, and the collector's name, then
store it in the large Cyanide storage bottle for several hours.
Only perfect specimens are marketable. As in any other
business, quality is the prime requisite for success. If the
insects offered for sale are perfect, a reputation is built up,
and customers will come back year after year and will
recommend one’s work. Requests will also come for other
insects,—crickets, grasshoppers, katydids and cicadas,—and
it pays to furnish only first-quality material.

To make the envelopes, cut squares of typewriter paper
or blank newspaper from 3” up to 6” or 7” in size. Fold
them once cornerwise, then fold the two short sides over 4”
to close the envelope. Press flat with a hot iron. Carry a
supply of these when collecting.

Often a butterfly becomes unconscious with its wings
turned down over its legs. In this case, hold it by one wing
with the forceps, blow gently between the wings, and as
they flutter apart, catch the free wing against the extended
forefinger of the left hand and turn it up into proper
position against the other, before placing it in an envelope.

Butterflies and moths are where you find them. The
collecter must go where they are, and that is often in the
most improbable and unusual places.

“Beside the stream, collected in a flock,
The noiseless butterflies”
—Wilcox

On warm summer days, many species of butterflies are
seen by the dozen on damp spots in the garden or by a
stream, as thick as they can stand, sucking the moisture
from the wet earth, and are so busily engaged that the entire
group can often be taken in the net. Drop the net swiftly
down over them, flat on the ground, holding the net bag
straight up above hoop. As they fly up into the raised bag,
lift the net and drop the bag over one side in the usual way.

Many moths are attracted at night by porch and garden
lights, or lighted bouquets of flowers. Some of the large,
night-flying moths are gorgeous creatures, with the Cecropia
and the Polyphemus and the Luna being the best known.
A few of the swift Hawk Moths fly throughout the sunny
hours, but the majority begin darting around flowers as
dusk falls. = Bs

Night-flying moths can also be lured by the “sugaring
method. Prepare a sweet, fermented mixture,—a_ blend of
rotten apples and molasses is effective-—and paint it on tree
trunks or fence posts just before dusk. Then after dark, go
around quietly with a flashlight and killing bottles to collect

7

the catch. There will usually be several moths clinging to
each tree or fence post, sipping the intoxicating mixture,
and they can easily be flipped into a killing bottle. Some
moths fiy in the early evening, others later in the night, so
it is well to make several rounds of the sugaring posts.
Many moths which will not come to lights, are caught by
this method.

If much collecting is done, there is always the possibility
of finding a new species, a “freak” or an aberration —
specimens which do not run true in markings or coloring.
Such oddities bring high prices even if they are common
varieties and somewhat imperfect. There are hobbyists who
specialize in collecting and purchasing such unusual speci
mens. Some species are especially subject to aberration,
others have dark forms, and albino or white forms.

BREEDING

If the captured butterfly is an imperfect male, lay it on
a leaf or bush and in a few minutes it will “come to” and
fly away as good as new. Here the amateur may encounter
some difficulty in determining the sex of his capture. In
many species, the sexes are differently marked or colored, in
others, such as the large “silk moths,” the antennae of the
male are much wider than those of the female. Almost
always the body of the female is larger than the male’s.

If the captured butterfly is an imperfect female, drop her
into a paper bag and fasten it with a snap clothespin around
a branch or spray of the particular larval foodplant of that
species of butterfly. There she will revive, and will usually
deposit her eggs upon the plant spray enclosed with her in
the bag.

If the larval foodplants of one species of a genus are
known, it is well to try plants of the same group on others
of the genus, though this rule does not always hold good.
For instance, many species of the Lycaena or “Meadow Blue”
larvae feed on legumes,—alfalfa, vetch, hosackia, lupine and
others. The three species of “Monarchs” all feed on various
varieties of milkweed, and several of the Papilio or “Swallow-
tails” choose leaves of the apple, chokecherry, willow, oak or
hop vines for their larval food.

While keeping the butterfly confined in the paper bag,
feed her twice a day on dried apple soaked in sugar or
honey water. Drop a piece or two at a feeding into the bag.
She will not eat the apple but sips the syrup. She must be
protected from ants and a simple method is to paint a band
of Tree Tanglefoot around the branch above the sack. This
is a very sticky substance which ants will not cross, and can
be bought at seed stores.

In freedom, the female butterfly and moth usually lays
her eggs on the particular foodplant that will be eaten by
the caterpillars to hatch from her eggs. In captivity, most
butterflies will not lay a single egg unless placed on the
plant that their larvae eat, while the majority of moths will
lay on anything that is convenient,—the sides of a box or
the inside of a paper bag. The eggs are deposited singly, in
small clusters, or in large groups, depending on the habits
of the species.

Butterflies and moths are expert botanists. The females

8

are often seen flitting around and around, industriously
hunting some particular plant. They are not familiar with
the long Latin names but they do know the plants. Whether
they tell by sight, or sense of smell, or instinct no one knows.
Much may be learned as to foodplants by watching these
hovering butterflies. If observed closely they are found to
be placing their eggs here and there on the leaves or buds
of the favorite foodplant of their larvae.

“And what’s a butterfly, at best?
"Tis but a caterpillar dressed”

Some eggs of butterflies and moths hatch in 4 to 6 days,
others take several weeks, and many moth eggs go over the
winter until Spring. They need no human help or incubation
beyond what nature provides of sunshine and warmth. The
eggs are all colors and shapes and sizes, and under a micro-
scope show wonderful ornamentation. Many have a thin,
hollow spot on top where the tiny worm hatches out. We
say “hatches,” but really it eats or breaks its way out, seeming
much too large for the space it occupied, and very often, it
finishes the empty shell for its first meal.

The caterpillars of the smaller butterflies and moths are
very tiny when they first emerge, while others are 1/16” to
14” long. When they are so tiny as to be almost microscopic,
it is best to leave them undisturbed for a few days or a
week, to feed and grow on the spray of foodplant on which
they were hatched. Then they can be moved to glass-covered
dishes, netting covered boxes or cans, or to fruit jars. Keep
them frequently supplied with fresh green sprigs of their
foodplant.

These cages must be protected from flies, ants and other
insects which might lay eggs in the young caterpillars,
causing their death later. Again, a band of Tree Tanglefoot
painted around the box or can effectively discourages ants.
This also keeps the caterpillars from crawling out. Cover
the bottom of each container with several layers of news-
paper to absorb moisture and catch the droppings. This can
easily be changed each day to keep the containers clean.

The larvae eat and grow for 3 or 4 days until their skins
become too tight, lie quiet for a day or so, when it is best
to leave them undisturbed, and then shed their skins.
Underneath is a beautiful new coat, often differently colored
and ornamented. While the old skin was stretched tight, the
new one has plenty of room for expansion. There are
generally four or five molts before the caterpillar is fully
grown. Some become very large, 6” or more long, and
appear quite ferocious with their many-colored spines and
projections, but are really harmless.

There are only two or three moths in this country whose
larvae are able to inflict injury with stinging spines. They
leave a mark much like a nettle sting and about as painful,
the scars lasting a week or more. The larvae of the Papilio
or “Swallowtail” butterflies are big-headed, slug-shaped
caterpillars that have two horns which are thrust out from
the head to eject a disagreeable odor. This is harmless but
is supposed to frighten away birds and other enemies.

To a real “Butterfly Farmer,” a strange “worm” is a
most interesting find. The first thought is, “What will it
make?” And the next, “What does it eat?” Place the “find’’
in a cage and tempt-its appetite with leaves from a half-

9

dozen plants in the vicinity. If none is eaten, another group
can be put in, and repeated until the right foodplant is found,

Some caterpillars feed singly, others in small groups, and
some are very social,—living in large colonies. To this last
class belong the Mourning Cloak Butterfly larvae which
literally swarm over willow branches and can be gathered
in great quantities. Caterpillars taken out in the wild will
not always mature, however, as they may have been stung
by parasitic insects.

Many larvae go to sleep as soon as they hatch from the
eggs and hibernate over the winter as tiny little specks.
When Spring comes, they wake up, eat and grow to
maturity. Many schemes have been tried to keep them suc-
cessfully through the winter in captivity,—in cold storage
and in cellars;—but some die and some live. There must
be an enormous loss out doors naturally. Other species
hibernate when half-grown, snuggling down under their
foodplants for the cold months, resuming their feeding and
growing in the Spring.

When the caterpillars are full grown, they stop eating
for a day or so and prepare to make their chrysalids or
cocoons. Many butterfly larvae spin a little button of silk
and hang up to this by the tail so the chrysalids are sus-
pended. Others swing from branches, fastened at tail and
by a thread around the body. Still others fasten under rocks
and leaves close to the foodplants. Many of the large night
moths spin a big silk bag on the limbs of trees and bushes,
and are so called “silk moths,’ though not the real silk
moth of commerce. Inside the outer silk case is another
smaller one, and inside that the smooth, hard, dark pupa
case, within which is the moth.

The Hawk Moths which hum like a Humming Bird as
they dart around flowers, come from chrysalids which are
made by the caterpillars 6” to 8” underground. When the
time for emergence comes, the chrysalis works its way to the
surface by wriggling and twisting with the help of a hook
on the pointed tip.

Before changing into a chrysalis or cocoon, a caterpillar
usually crawls around rapidly for a time, then shrinks to half
its length and appears to be almost dead. Finally the skin
splits down the back and is worked off, leaving the wet,
soft pupa underneath. On this fresh chrysalis can be seen
the head, wings and body markings of the immature
butterfly or moth inside. This case hardens and dries and
is often beautifully colored. The chrysalis of the common
Monarch or Milkweed Butterfly is as large as the first joint
of a finger,—a beautiful green color, with gold spots, like
a jade jewel. Some chrysalids are smooth, others are rough
and oddly shaped with spines, and some have the appearance
of bits of wood or bark.

Many butterflies and moths remain in the chrysalis stage
only a few weeks, some emerge in a week to ten days.
Others hibernate in this state, and occasionally the big silk
cocoons lie dormant two years. Many species have several
broods per year, the final brood going over the winter as
chrysalids. These over-winter chrysalids and cocoons should
be stored in a cool place protected from mice and ants. They
should be sprayed with water whenever it rains outdoors,
and kept in as normal a condition as possible. In the Spring,
they should be moved to a place where they can be watched
carefully. sil

10

|

ae SS the summer-hatching chrysalids are formed on a
Butterfly Farm’ and become hardened enough to be
handled without injury, they should be removed to mosquito
netting cages. Use a large cardboard carton for a cage.
Remove the top and cut out the center of each side, leaving
only a framework of the cardboard. Paste mosquito netting
on each side and over the top. With some species, the
chrysalis turns white and transparent the last day before the
butterfly emerges, and the colors and markings on the wings
show through the pupa case plainly. Then the case splits
over the head and feet and the insect crawls out.

“Lo, the bright train their radiant wings unfold,
With silver fringed, and freckled o’er with gold”

As the butterflies and moths emerge they crawl up the
netting sides of the cage and hang suspended. There is
nothing in insect life more amazing and thrilling than the
rapid development of the butterfly and moth after its
emergence from the chrysalis,—almost, it seems a resurrec-
tion from the dead.

Hanging pendant, the insect fans its wings slowly, and
the process of circulation starts. The wings are not folded
or crumpled, but are very tiny, with all the markings perfect.
The body is very large, and the exercising circulates the blood
from the body through the hollow tubes in the veins, and
the wings grow rapidly while the body becomes smaller.
Within twenty minutes to a half-hour, some butterflies are
full-grown and ready to fly away. Others take longer.

The netting top on the cage should be left loose on three
sides, and it is a simple matter to slip a Cyanide jar into the
cage before the insects begin to flutter about, and one or-two
at a time, put them to sleep, place in labeled envelopes, and
store in the large Cyanide storage jar for a day. From this
method of breeding result the greatest proportion of perfect
specimens. They can be sold as specimens, or spread and
mounted in art work. Occasionally an imperfect insect will
occur which should be turned loose to fly away.

The large night moths, with three cases around them,
two of them woven of silk that is hard to slit with a knife,
have a harder time emerging. And yet they come forth with
scarcely a scale missing. Scientists say the moth ejects a
liquid which softens and cuts the silk so it can force its way
through. The hole it leaves in the case will often be less
than 14” across, and yet the bodies of some of the moths are
as large as a thumb. If freshly-emerged females of these
wonderful silk moths are placed on a window screen or in a
netting cage outdoors, they will often attract swarms of
males which can then be caught with a net.

It is not always possible to “paper” all moths, for most
of them do not fold their wings in the same fashion as
butterflies. These should be firmly pinned with steel insect
pins in cigar boxes which have a piece of cork or linoleum
glued in the bottom. A pair of pinning forceps is quite
necessary for holding the pin close to the point and pressing
it down without bending. The specimen should be placed
on the pin about VY,” from the top so that the feet will not
touch the bottom of box. A tiny identification label should
be on the pin below the specimen. The insect pins and
pinning forceps are sold by any entomological supply house.

To ship “papered’’ butterflies and moths, place the

11

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OD for

SEAEAS 2

envelopes in cigar boxes with a layer of cotton at top and
bottom. Wrap the boxes in corrugated cardboard or pack
in a strong carton. Pinned moths should be relaxed before
shipping. Wet a handful of cotton in boiling water,
squeezing it so it will not drip. Quickly place it in the moth
box and shut the lid tightly. Rewet the cotton several times,
and in the course of a day, the vapor will soften the insects
so that the antennae will withstand the journey. Pack the
box of pinned moths inside a larger box, filling the space
between with crumpled paper.

A record note book should be kept of every little bit of
new knowledge gained in Butterfly Farming,—length of
time for eggs to hatch, foodplants preferred by the cater-
pillars, number of molts and description of the caterpillars,
_ length of time before the pupae are formed, description of
the pupae, and length of time before the butterflies or moths

emerge. The foodplants and life histories of a large number ‘

of moths and butterflies are not known. Notwithstanding
the extensive work that has been done with insects, there is
still a great field here for discovery, with the possibilities of
adding some interesting and valuable facts to the scientific
knowledge of the world.

TO TNT TT
Neat Sy act

Wie Me

Ae A i Mi ta WR. ta hag ERE Sa ee

One of the queerest habits of butterflies and moths is the
migration of certain species. Nobody yet knows why they
fly hundreds and perhaps thousands of miles across land
and water. The cause may be a scant food supply, over-
crowding of larvae, or weather conditions. Some migrate
singly, others in vast swarms of millions, covering hundreds
of miles, all going in the same direction. This is another
puzzle which remains to be worked out.

Butterflies for Decoration

“Butterflies
with wings that were wide as a sail”

Butterflies and moths are beautiful creatures and the enjoy-
ment of their beauty is one of the rewards of Butterfly
Farming. To enable this beauty to be preserved where
many may see it, they should be mounted for the adornment
of the home. A butterfly picture or a serving tray, a pair
of book ends or some novelty pieces made of the prettiest
butterflies, moths and greenery collected in a summer, are
pleasant reminders of those happy months.

13

PREPARATION OF SPECIMENS

It is well to include in each picture or tray one or two
butterflies with wings folded and perched on a flower or
grass stalk, but most of them should be mounted with the
wings spread. This can be done within a half day after
catching and before the wings stiffen, or they can be stored
away indefinitely and “relaxed” as needed. To do this, slip
the envelope containing the butterfly between several layers
of wet cloths for 24 hours and the wings will absorb enough
moisture to spread easily.

For a spreading board, get a smooth piece of double
corrugated cardboard a foot or more square,—of a_ soft
quality in which pins will penetrate easily. Cut strips of
letter paper or typewriter paper in two sizes—%4"x3” and
¥,”x6". With the left hand, grasp the butterfly specimen
by the body with the folded wings hanging down and the
feet up. Using a pair of scissors, cut off half the thickness
of the body to make it thinner for mounting. When
mounted, this cut will be underneath and will not show.

Lay the specimen upside-down on the spreading board with
the head toward you, and fasten it down with a pin stuck
through the body between the wings into cardboard. Lay
one of the paper strips lengthwise over the two left-hand
wings,—a long strip for a large specimen, one of the short
strips for a small one. Pin down the back end of the strip
behind the wings. Holding the front end of strip, pull it
taut over the wings, and with a pin shift both wings
forward until the back edge of the front wing is at right
angles to the body. Pin down the front end of the strip in
front of wings to hold them in position. Repeat on the other
side with the other two wings. Let stand for a day or more
until the wings are dry and set, then remove pins and
Strips, and store the specimen in a box. Dried specimens

14

which are relaxed and then spread, take only an hour or
two to become dry and set.

When a good supply of spread specimens is on hand,
place them in a pan of benzine or white gasoline for 24
hours to kill any parasites. Then lift them out carefully
and lay right-side-up on a folded newspaper in a shallow
box. Cover the box with a sheet of glass leaving a small
space at each end for ventilation. Set this out in the sun
for several hours until all liquid has evaporated and they
are dry and brightly colored again. Then store them
immediately in a large, tightly-capped can or tight box in
which is placed an open jar or bottle of Carbon Bisulphide.
This prevents any parasites from getting to them.

If any amount of Butterfly Art Work is to be made, a
tight “fumigating box” should be built,—large enough to
hold a box of butterflies, a sack of milkweed floss or thistle-
down, and several magazines filled with an assortment of
pressed greenery. This box should have a hinged door
fastened with several catches against a folded strip of cloth
or inner tube, to make it as nearly air tight as possible.
Store all materials in this with Carbon Bisulphide until
ready to mount. Handle this liquid carefully, keeping it out
of the sun and away from fires, as it is highly inflammable.

There are a number of “bugs” which attack butterflies
and moths and destroy them. One of the worst offenders is
a house pest commonly called “Rug Beetle.” So great care
must be taken to keep out these parasites, the best method
being to store all materials in a fumigating box until ready
to make up desired articles. With proper precautions, a piece
of butterfly work will remain in perfect condition for years.

PREPARATION OF GREENERY

Different localities provide many different kinds of ferns, ’
grasses and flowers suitable for mounting with butterflies
and moths, and hunting for them can become a very enjoy-
able and healthful summer or vacation occupation. They
can be found almost everywhere,—along country lanes, in
fields and orchards, on hills and mountains, in parks, and
in one’s own garden.

It is desirable to have some large, filmy grass heads for
a foundation. Then hunt for small ferns, heavy grass heads,
seed heads, sedges and small flowers. Lay these between
the pages of old magazines, tie tightly with a cord, and
place under a weight for 24 hours to press flak On the
second day, the magazines may be laid out in the sun on
a warm cement walk or porch, turning them frequently, to
hasten drying. After two days remove the greenery to fresh
magazines and dry the first ones. It may be necessary to
change them again before the greenery is perfectly dry.
Then put an assortment of all the greenery into one or two
magazines and store in the fumigating box.

A supply of milkweed floss or thistledown should be
gathered in season,—to make a shimmery background for
the greenery,—both plants growing wild almost everywhere.
The milkweed floss is easier to work with. Gather the
milkweed pods or thistle heads when ripe, just before they
open, and store in bags or boxes, keeping one bag in the
fumigating box.

15

FRAMES

Almost any color frame is suitable for mounting butterflies
and moths,—black or mahogany, gilt or silver, natural wood
finish, green or blue tones, antique ivory or white. The
plainer type is best, however, as elaborate frames detract from
the beauty of the butterflies. Old discarded frames can often
be resurrected from the attic or basement and restored with
4 coat of shellac, varnish or paint.

One thing is important,—the groove (rabbet) in the
back of moulding must be deep enough to allow room for
the thickness of the butterfly work. The depth of the rabbet
should be not less than 4” for small frames, and 5/16” to
3%” for large ones. Some mouldings are too shallow.

The frames should be fitted with good-quality, clear
glass and cardboard backs. A double corrugated cardboard,
even the thinnest, is too thick unless the frame rabbet is
unusually deep. Frames purchased at stores are generally
fitted with a thin, stiff fiberboard in the right thickness. Or
large, flat boxes (shirt boxes or underwear boxes) can be
obtained from stores and cut up to make frame backs. The
cardboard should be only thick and stiff enough to prevent
bad bulging on the back.

OTHER MATERIALS

Cotton is used for the background of Butterfly Art Work.
A pound roll of absorbent cotton or part of a package of
cotton comforter batt in a good grade, will make many
pieces.

Also needed are a chunk of beeswax in good quality, and
a small piece of galvanized iron in 24 or 26 gauge thickness.
The local tin smith’s shop will usually provide some scraps
of this iron a few inches long in correct gauge, free for the
asking.

For finishing the back of pictures, use a heavy wrapping
paper. Trays should be backed with a heavier “cover paper”
which can usually be obtained at a stationery store or
printing shop in large sheets. A medium or dark brown
tone is very good.

Higgin’s Vegetable Glue,—a white paste glue,—is
recommended for pasting the paper backs on the frames.
It is carried in drug and stationery stores in several sizes. A
small can will finish many articles.

Rubber-headed tacks in 3%” or 4” size can be purchased
in dime or hardware stores for a few cents, to put in the
corners of serving trays.

To fasten the backs in frames, wire brads in 1” to 2”
lengths and 18 to 20 gauge wire, are needed and can be
bought at hardware stores or lumber yards.

PREPARATION OF FRAMES

When the frames are ready, clean the glasses and slip them
into the frames. Take a piece of the galvanized iron and
cut some narrow strips with a pair of tin snips, then cut
these strips into glazier’s points. It is best to make several
widths of strips, from 4” to %”. Holding the tin snips
stationary on a bench or board, insert a strip at an angle
and cut, turn strip over and cut again. Repeat, making the

16

“points” sharp-pointed and V-shaped, longer than the width
across the top of V. If they are not perfectly flat, lay them
on a piece of flat metal and tap with a hammer.

With the frame upside-down on a bench or table and
braced against a strip of wood nailed along the front edge
of the table, lay a “point” every 2” or 3” around the edge
of glass. Hold a small screwdriver upright in left hand,
pressing down on the glass with the end of it (but not too
hard), and against the top of a “point.” Tap against the
side of the screwdriver with an old table knife or file to
drive the “‘point” into the frame. Repeat with each “point”
on one side of the frame, next on the opposite side, then
on each end, driving them in far enough to clear the inside
edge of frame, so they will not show from the front. This
holds the glass firmly in place.

To seal the glass, place the chunk of beeswax in a pan
or shallow can and melt it over a fire. When it is nearly all
melted, turn out the fire, but leave it on the hot burner.
Have ready an old teaspoon with the sides (halfway up bowl
from tip) rolled up and over by pinching it in a vise or
bending with pliers. This makes the end of the spoon a
pointed tube. Dip up some melted wax with this spoon,
and with the frame held tipped at an angle, pour the wax
down one side into the crack between the glass and frame.
Let the wax run over the edge of glass around the “‘points,”
keeping it far enough back so it will not show from the
front. Continue all around the frame. It is very important
to make a perfect seal, leaving no cracks or bubbles through
which any “bugs” might enter to destroy the butterflies.
This sealing process also makes serving trays tight for
serving, so that no spilled liquids may reach the butterfly
center. If the wax accidentally runs over onto the outside
of frame, scrape with a knife, then wipe off with a heated
pad of cloth.

ARRANGING CENTERS

Cut a piece of white paper the same size as each cardboard
back and fasten together with a dab of paste. Then cut a
very thin layer of cotton to fit. Either absorbent cotton or
a cotton batt can usually be split several times and when
laid over the white paper will show no thin spots.

Remove materials from the fumigating box and working
on a clean table, arrange the milkweed floss or thistledown
on the cotton, snapping the seeds off first. The milkweed
floss can be dropped on in quite a thick layer, while the
thistledown circles should be pinched flat with the fingers
and pressed down on the cotton close together. Cover all
the cotton with this shimmery, creamy material.

As a background for the other greenery, put on a layer
of some filmy, lacy, grass sprays next, running them up

“unevenly within a few inches of the top. Then select several

long stems of heavy grass heads or seed heads for the
principal grouping, and place them off-center to right or left.
All the stems should come down to the lower edge. Next
put on a secondary group at the opposite end from the
main group, in contrasting materials;—heavy grasses or
sedges, or the finger-heads of Devil Grass or Bermuda Grass.
Add some tiny yellow, blue or rose flowers, scattered along
on the grasses. Work in some large fern sprays with smaller

17

ones across the bottom. Finish lower edge with quite a
heavy row of grass heads. “Orchard Grass’ is very good
for this, hiding the stems of the other greenery.

When completed, lay a cardboard or pane of glass over
the “center.” With the forceps, pull the cotton and greenery
out evenly to the edge of the cardboard and cut off any

projecting stems.

ARRANGEMENT OF BUTTERFLIES
AND MOTHS

Remove specimens from the fumigating box and select a_

group to go in each frame. The natural antennae may be
used though it is difficult to keep them from breaking in
the process of fastening the work in the frame. A drop of
Shellac or Household Cement at the base of antennae will
help to keep them in place. Or they can be removed and the
black bristles from a hair or clothes brush substituted. With
the butterfly upside-down, put a drop of Household Cement
on the under side of head, lay the ends of two bristles on
the cement, spreading the outer ends naturally, and allow
the cement to dry for a few minutes.

Select your largest and prettiest butterfly or moth for
the center of the group in each frame. Lay it in place,
slightly off-center and at an angle,—not perfectly straight up.
Perch one or two butterflies with folded wings on the tips
of some of the heavier greenery heads. Add several more

18

specimens in a balanced arrangement, selecting those in
blending colors. Do not use too many in each frame. Seven
or eight in assorted sizes are sufficient for a large tray or
picture.

When the arrangement is completed, pick up the frame,
giving the glass a final dusting with a lintless cloth, and lay
it over the work. With a hand on each side, holding the
work up into the frame, turn it over, and bracing it against
the stick on the edge of table, hold the back down firmly
with a hand or weight, and fasten it into the frame with
the wire brads placed every 2” or 3” all around. These can
be laid flat on the cardboard, and while pressing down on
the brad, tap the head of it with the side of an old file or
chisel or some similar tool, driving it into the frame. If the
brad should start to split out the back of the frame because
of too shallow a rabbet or too thick a “center,” cut some
large “points” out of the iron—about %4” long and 4”
across the top,—and drive these in instead of the brads.

Now the article is ready for the paper back. Lay the
frame on the paper, mark around it, then cut 1/16” inside
line. Cover the back of the frame with the paste glue,
using a small stiff brush, being very careful that no spot is
overlooked. Wet the back of the paper by rubbing it with
a sponge or pad of cotton dipped in water, then lay it,
wet-side-down, on the article, and with a cloth rub and
press it down carefully on the frame until it is perfectly set
and sealed. This seals in the butterflies and moths and
prevents any “bugs” from getting in to them. As the paper
dries, all wrinkles and bulges will straighten out and it will
be smooth and taut.

After the paper backs on the trays are dry, drive a
rubber-headed tack into each corner on the back of frame,—
about 114” down long sides from corners. For pictures,
drive a screw eye or tack on each side of the back of frame
several inches from the top and connect with a string or
wire for hanging.

BOOK ENDS

Have two picture frames made of moulding 4” wide or
more,—5”" x 6” outside measurement of frame (not glass
size) being a good size. Fit the frames with glass, fasten
this in and seal, and fill with pretty butterfly “centers.”
Glue paper on the backs. Have a tin smith cut two pieces
of 18-gauge galvanized iron 434” x9” in size, and get them
bent crosswise to a true right angle 3144” from one end.
Drill two small holes on each side of the long half, as close
to the edge as possible, countersink the holes, and using tiny,
flat-head screws, screw the iron to the back of the picture.
Wash the three surfaces of the iron with vinegar, let stand
15 minutes, then remove with water. Cut a piece of felt
long enough to go from the top of the frame down the
back, over the base piece of iron and back underneath to the
bottom of frame. Glue in place and trim evenly.

CALENDAR

Pretty calendars or plaques can be made without wood
frames. Cut two identical pieces of heavy cardboard (smooth
pieces of a cardboard carton will do), about 534” x 814”, or

19

any other desired size. With a sharp knife or chisel, cut a
true rectangle about 342” x44” out of one end of one
piece, then glue the two pieces together, putting them under
a weight to keep flat. Cut a third piece of thin cardboard
from the top of a pretty box. In one end of this, carefully
cut out a matching opening, but make it 14” smaller all
around (3” x 334”). This forms a “rabbet” when laid over
the opening in the heavy cardboard.

Secure a piece of clear celluloid by removing the
emulsion from an old photograph film. Cook it in water to
which has been added lye or strong soap powder, keeping it
below the boiling point. Lay several small sticks in the pan
to raise the film off the bottom,—to keep it from getting
too hot. An old tooth brush is excellent for rubbing the
emulsion coat off the film without scratching. When it is
perfectly clear, rinse it in clean water and dry. Cut a piece
of this celluloid larger than the opening in the thin card-
board, and glue it to the underside with Household Cement.

Make a butterfly picture to fit in the opening in the
_ heavy cardboard, starting with a piece of white paper, then
a thin layer of cotton, some greenery and one or two small
butterflies. Place this in the opening in the heavy cardboard,
glue the thin cardboard on top and weight down until set.
Finish by binding the edges with Passe Partout (fancy,
gummed paper tape), glue a small calendar on other end
opposite butterfly picture, and fasten a ribbon or cord hanger
loop to the back.

POWDER BOX

An old powder box can be given fresh beauty by making a
new lid of framed butterflies. Any graceful glass or pottery
bowl can also become a unique dressing table adornment
by adding a butterfly top.

If the bowl or box is round, cut two circles of heavy
fiber cardboard (not corrugated) about %” larger than the
outside top diameter, Cut out the center of one of these
circles, leaving a 2” rim. Glue this on top of the other
circle, and put under a weight until set. Make a butterfly

20

picture to go in the center space as was done for the calendar,
using one or two small butterflies. From a thin piece of
cardboard, make a third circle of the same size and remove
the center to leave a 4” rim. Lay this on a circle of silk
or satin about 114” Jarger all around. Cut out the center of
this silk 14” inside the opening in the cardboard, slash this
V,” edge, fold it back and paste down on the cardboard,
Clean the emulsion from an old photograph film, following
the directions given for the calendar. Cut a circle of this
celluloid 2” larger than the opening in the thin cardboard
and glue it to the underside with Household Cement. With
paste on the cardboard rim, lay this over the butterfly picture
and turn everything upside-down. Pull the edge of the silk
over taut, in evenly formed pleats, and glue it down in the
center of the solid cardboard circle.

Cut two circles of heavy cardboard about 4%” smaller
than the inside diameter of the powder box top. Glue them
together and cover with the same silk or satin, pulling it up
taut and pasting it down in pleats on the back. With the
backs together, glue this in the center of the larger circle and
place under a weight until dry. Then lay the new lid on top
of the bowl or box with the small circle extending down
inside. If the silk or satin on the top and sides of the lid is
not perfectly smooth, dampen it with a pad of cotton dipped
in water, and as it dries, it will shrink perfectly taut and
free from wrinkles. If the top of the powder box is square
or rectangular or any odd shape, make a lid to fit it in the
same way.

JEWEL BOX

The lower half of any small cardboard box will become a
charming jewel box if it is padded, covered with silk and
trimmed with a butterfly lid. For an attractive combination,
cover the outside of the box with taffeta in a color to match
bedroom furnishings, and line with white satin.

To make the lining, cut a piece of thin, stiff cardboard
to fit each side and the bottom of the inside of box. Make
the side pieces about 3/16” shorter and 1” higher than
each side. The bottom piece should be about 4%” smaller in
both directions. Pad one side of each cardboard with a layer
of cotton, fastening it with a few dabs of paste. Cut a piece
of satin for each piece,—'%” larger all around. Lay one of
the cardboards cotton-side-down on its piece of satin, pull the
edge of the satin over taut and paste it down on the back of
card. Repeat with each card. When dry, whip the ends of
the side strips together with needle and thread, then whip
these sides to the bottom piece. Slip this lining inside the
box, fastening it with a little paste.

“Next cut a piece of cardboard to fit the outside of each
side of box. Make these pieces 4g” longer and 4” higher
than the box sides. Pad them with cotton and cover with
silk, Whip the ends together, slip this cover over the outside
of the box, fastening it with a little paste, and whip the top
edge to the top of lining.

Make the lid similar to the Powder Box lid. Cut two
rectangles of heavy cardboard and one of thin cardboard 4”
larger each way than the top of box. Remove the center of
one heavy card, leaving a 2” rim. Glue this to the other
heavy card and fill the center space with a butterfly picture,

21

es. Cut the center out of the thi
over this with the silk, followit
R piece of celluloid
this over the
rims together. Tur1
ind paste it down
he corners. two.

the

“a9 —_

Wooden boxes with flat, hinged lids may be glorified with
a butterfly picture framed to fit the top and glued or nailed
on the lid. In the same way, fasten a butterfly-filled frame
on the top of a tilt-top table and have a piece of furniture
which will be the envy of all your friends.

Butterflies mounted on lamp shades and shields are
exquisite with the light shining through the wings of
brightly-colored species. For this kind of work, use only
the wings. The heat from the lamp affects the oil in the
natural bodies. Break off the wings and mount them on a
small piece of celluloid, Y"xV%" being a good size for
medium and small specimens. Use Household Cement for
this. Cut a body out of blotting paper and tint it with water
colors or oil paints to match the color of the natural body.
Attach artificial antennae, and cement this paper body to the
celluloid between the wings. If a neat job is done, it is hard
to tell from the real butterfly. Glue these with greenery on
a tinted paper or parchment foundation, cover with celluloid
and sew the edges to the frame of lampshade or shield.
Finish with a binding of ribbon or braid.

If only small pieces of celluloid from photograph films

are all that can be obtained, mount the butterflies in small
circles or panels sewn on a silk or parchment lampshade,
covering the edges with a fancy braid or 2” ribbon shirred
through the center. It is not necessary to seal articles made
of these artificial butterflies. With the real body removed,
pests seldom attack the wings alone.
Very attractive Christmas or Easter cards can be fashioned
from these artificial butterflies. Cut two thin cards in desired
size. Cut on opening in the front card and back it with a
piece of celluloid. Behind this “window,” mount an artificial
butterfly with a few sprigs of greenery on the other card,
and glue the two cards together. Bind the edges or overcast
with bright wool yarn.

With a little time and ingenuity, very little expense and
much fun, many other lovely and unique articles can be
made to grace the home, using fragile butterflies and moths
as the decorative feature. The things described here are
“only the beginning” of the possibilities.

——__e—m eS

This booklet has been compiled by Esther Parnell
Hewlett, the “Butterfly Lady” of Southern California, who
has “Butterfly Farmed” for many years, and for the past
twenty years has imported the beautiful tropical butterfli
and moths from the world around, manu
Butterfly Art Work. It is written with th
arouse increased interest in a inal
real service in helping more people t
the wonders of Nature. a

Photographs by Frank A. Hew ett.

a* s

22)